It's dirty, it's bluesy, it's southern drenched hard rock straight from the South. Overdriven guitars and riffs that are influenced by bands like Black Oak Arkansas, Lynyrd Skynyrd and the likes of good 'ol classic rock on a whole. Strong front vocals that are melodic, and tons of harmony back up stuff going on. If you dig classic rock- James Gang, Skynyrd, Molly Hatchet, then check out All Night. It's about whiskey, beer and good times. This will get repeated listens around the Wrong household.

Hell yes. I have been listening to this cd for some months now, and it never gets tiring. The songs are like the ones that made me a fan of rock and roll in the first place and I'd been wishing someone would start writing songs like these for a long time.

Tight soul wrapped with hard rock riffs that’s good to tap your toes along with or screw someone whose name you just learned 10 minutes ago.

As massive as the riffs were on Ancestors’ 2008 debut, Neptune with Fire (originally also the band’s demo), their largesse pales in comparison to the distance of stylistic ground the band has covered since. The progression away from that album’s two-song Sleep-derived sprawl was almost immediate on 2009’s Of Sound Mind titled as if to indicate the L.A.-based act’s own consciousness of what they were doing – and last year’s Invisible White EP was even more of a departure from what seemed like a stated course of gleefully mining and putting stoner rock riffing to epic, extended use. You could almost hear the one-song album on its way.

Ancestors might still get there, but if they do, it’ll be in a much different form. The full-length follow-up to the pattern of influence Invisible White established is In Dreams and Time , which confirms over its far-ranging 66 minutes emotional weight as the center of the band’s songwriting construction even as much as it utilizes thickened tones to blend in elements from earlier offerings. The really amazing thing about Ancestors is that we’re talking about a four-year span of time that all these shifts have taken place. Of course the first record was put to tape well before it came out, but even so, if not for the breadth it covers, In Dreams and Time would feel like a debut in itself for how much of a beginning it seems to be for the band.

For their part, Ancestors will be Ancestors, and their unwillingness to compromise on that point has proven to be one of their greatest strengths thus far into their career. Just like everything else they’ve done up to this point, In Dreams and Time redefines what being Ancestors means. It is their most confident, most studied and clearest outing, and while that’s true, it also shows potential for growth going forward, for melodic fullness to come and for development of the songwriting prowess and performance interplay already on impressive display here. Maybe I’m just one of those people who’s going to dig Ancestors wherever they go stylistically. I’m alright with that, because as much as Neptune with Fire caught the attention and Of Sound Mind seemed murkier in its expansion, Ancestors have since shown that they’re the masters of their own evolutionary path, and so far trusting in that has paid off.

As massive as the riffs were on Ancestors’ 2008 debut, Neptune with Fire (originally also the band’s demo), their largesse pales in comparison to the distance of stylistic ground the band has covered since. The progression away from that album’s two-song Sleep-derived sprawl was almost immediate on 2009’s Of Sound Mind titled as if to indicate the L.A.-based act’s own consciousness of what they were doing – and last year’s Invisible White EP was even more of a departure from what seemed like a stated course of gleefully mining and putting stoner rock riffing to epic, extended use. You could almost hear the one-song album on its way.

Ancestors might still get there, but if they do, it’ll be in a much different form. The full-length follow-up to the pattern of influence Invisible White established is In Dreams and Time , which confirms over its far-ranging 66 minutes emotional weight as the center of the band’s songwriting construction even as much as it utilizes thickened tones to blend in elements from earlier offerings. The really amazing thing about Ancestors is that we’re talking about a four-year span of time that all these shifts have taken place. Of course the first record was put to tape well before it came out, but even so, if not for the breadth it covers, In Dreams and Time would feel like a debut in itself for how much of a beginning it seems to be for the band.

For their part, Ancestors will be Ancestors, and their unwillingness to compromise on that point has proven to be one of their greatest strengths thus far into their career. Just like everything else they’ve done up to this point, In Dreams and Time redefines what being Ancestors means. It is their most confident, most studied and clearest outing, and while that’s true, it also shows potential for growth going forward, for melodic fullness to come and for development of the songwriting prowess and performance interplay already on impressive display here. Maybe I’m just one of those people who’s going to dig Ancestors wherever they go stylistically. I’m alright with that, because as much as Neptune with Fire caught the attention and Of Sound Mind seemed murkier in its expansion, Ancestors have since shown that they’re the masters of their own evolutionary path, and so far, trusting in that has paid off.

The follow up to the group’s sophomore album Of Sound Mind, Invisible White marks the debut of new member Matt Barks on Moog / modular synthesizers and charts a new course for the band’s progressive, colorful sound. The songs on the album feature a hybrid of orchestral and electronic instruments and assume an almost cinematic, film score feel augmented by guest musicians playing violin and vibraphone. Simultaneously playing to the strengths of psychedelia, prog and even rhythm and blues, the music retains Ancestors’ exploratory approach and adds a hauntingly emotional impact, pushing the band’s sound into interstellar overdrive.

The follow up to the group’s sophomore album Of Sound Mind, Invisible White marks the debut of new member Matt Barks on Moog / modular synthesizers and charts a new course for the band’s progressive, colorful sound. The songs on the album feature a hybrid of orchestral and electronic instruments and assume an almost cinematic, film score feel augmented by guest musicians playing violin and vibraphone. Simultaneously playing to the strengths of psychedelia, prog and even rhythm and blues, the music retains Ancestors’ exploratory approach and adds a hauntingly emotional impact, pushing the band’s sound into interstellar overdrive.

Ancestors continues to defy any attempt at pigeonholing. They effortlessly move from one genre to the next with such grace that it's a seamless transition. Kyuss by way of King Crimson by way of Sleep by way of Pink Floyd by way of Neurosis by way of Hawkwind, you can't say they're not pushing themselves.

Ancestors was off to a fine start with Neptune with Fire and on Of Sound Mind they've taught the old dog of progressive stoner rock enough tricks to grant it a permanent spot in Cirque du Soleil.

Ancestors continues to defy any attempt at pigeonholing. They effortlessly move from one genre to the next with such grace that it's a seamless transition. Kyuss by way of King Crimson by way of Sleep by way of Pink Floyd by way of Neurosis by way of Hawkwind, you can't say they're not pushing themselves.

Ancestors was off to a fine start with Neptune with Fire and on Of Sound Mind, they've taught the old dog of progressive stoner rock enough tricks to grant it a permanent spot in Cirque du Soleil.

With fuzzy riffs, elongated solos and twin guitar leads ala Maiden, this is a Hessian's dream. On III: Tales of the Ancient Age, Annihilation Time leaves the D.R.I. thrash influence in a cloud of bong smoke to focus on their shredding. That is, when they aren't ingesting chemicals, breaking bottles, or diving into the broken glass. And that's why thrashers and crusties still covet this so. Not so much a party band like Municipal Waste or Spring Break, Annihilation Time is a band that happens to party. Better, they are a band that incites a party. Clearly a stoner rock band - the mustaches and denim vests prove it so - they still have the strong punk ethos in their lyrics: work sucks, get fucked, let's rage.

Oakland’s Annihilation Time are a rare, rare find for the aught years—a prodigiously talented and punk-derived guitar band that is familiar with the honest-to-goodness musical language of rock. Their third album finds the band stronger than ever, with a crushing rhythmic core and dueling guitar solos that are not only muscular and modest but purposeful. The effect of this record is something like Thin Lizzy (or maybe James Gang) if they’d signed with SST Records in ‘82. Black Flag is the clear precedent for this music, or rather this type of rhythmic drive. The rhythm section of bassist Chris Grande and drummer Noel Sullivan recalls the dynamic duo of Flag’s Kira Roessler and Bill Stevenson at their peak—a forceful, tumbling machine that seemed incapable of derailing despite the utter chaos in the guitars and singing.

What distinguishes AT from their forerunners is the absence of awkward melodic left turns in the guitar playing, and the absence of macho-dude posturing in Jimmy Rose’s vocals. This is a punk-derived rhythm section with nothing but pure hard rocking and slightly warped, riffy goodness on top (guitarists Wes Wilson and Graham Clise are simply unstoppable). Perhaps that puts them more in the Didjits’ camp than Black Flag’s. But to reduce AT to the sum of their influences is belittling; though their influences are apparent, this beast fights its own fight.

With fuzzy riffs, elongated solos and twin guitar leads ala Maiden, this is a Hessian's dream. On III: Tales of the Ancient Age, Annihilation Time leaves the D.R.I. thrash influence in a cloud of bong smoke to focus on their shredding. That is, when they aren't ingesting chemicals, breaking bottles, or diving into the broken glass. And that's why thrashers and crusties still covet this so. Not so much a party band like Municipal Waste or Spring Break, Annihilation Time is a band that happens to party. Better, they are a band that incites a party. Clearly a stoner rock band - the mustaches and denim vests prove it so - they still have the strong punk ethos in their lyrics: work sucks, get fucked, let's rage.

Oakland’s Annihilation Time are a rare, rare find for the aught years—a prodigiously talented and punk-derived guitar band that is familiar with the honest-to-goodness musical language of rock. Their third album finds the band stronger than ever, with a crushing rhythmic core and dueling guitar solos that are not only muscular and modest but purposeful. The effect of this record is something like Thin Lizzy (or maybe James Gang) if they’d signed with SST Records in ‘82. Black Flag is the clear precedent for this music, or rather this type of rhythmic drive. The rhythm section of bassist Chris Grande and drummer Noel Sullivan recalls the dynamic duo of Flag’s Kira Roessler and Bill Stevenson at their peak—a forceful, tumbling machine that seemed incapable of derailing despite the utter chaos in the guitars and singing.

What distinguishes AT from their forerunners is the absence of awkward melodic left turns in the guitar playing, and the absence of macho-dude posturing in Jimmy Rose’s vocals. This is a punk-derived rhythm section with nothing but pure hard rocking and slightly warped, riffy goodness on top (guitarists Wes Wilson and Graham Clise are simply unstoppable). Perhaps that puts them more in the Didjits’ camp than Black Flag’s. But to reduce AT to the sum of their influences is belittling; though their influences are apparent, this beast fights its own fight.

Wig-outs, freak-outs, and tripped-and-fuzzed-out rock ‘n’ roll with a devilish temper is excepted. However, in keeping with the band’s enigmatic persona, Aqua Nebula Oscillator has pulled a sinister swerve on its latest album, Spiritus Mundi. The heads down motorik psychosis, dark psychedelia, and third-eye channeling rock is still here. But, Aqua Nebula Oscillator decided a change of venue was required for the recording of Spiritus Mundi, so it exited the underground and headed into the middle of the Pyrénées Mountains to track the album in an eerie villa. That change in elevation sees Spiritus Mundi having a corresponding lift, and more of an eclectic temper, and while the 11 tracks within still range across the acid-rock spectrum, they don’t dive quite as deep into the caverns as on previous releases.

The phantasmagorical rock of old is still present, and while Aqua Nebula Oscillator explores more illuminated landscapes—looking down on humanity rather than gazing up at it from the catacombs—it still finds plenty of grim sights to behold. There’s been a subsequent expansion of the band’s sonic arsenal along the way, with more varied use of electric and acoustic guitars, keyboards, voices, and off-kilter rhythms, but they’re all still wrapped around delightfully eldritch echoes, distortions, and oscillations. The most notable element to Spiritus Mundi, is that the propulsion of the past has shifted down, into a lower gear. Previously, the band’s songs were like thrashing nightmares, but overall, Spiritus Mundi is more akin to having your brain slowly baked by fevered delirium.

Still, given that Aqua Nebula Oscillator is inspired by the notion of parallel dimensions, it’s all rather fitting that it’s chosen to follow a different, though no less unhinged, pathway into the shadowy realms. It might well be an altered approach from the band, and there are changes afoot on Spiritus Mundi, but the album still provides all the required quivers and shakes. The band’s string-shredding ‘70s stomp is still here on the album’s hardest tracks, and the eccentricity within is still obviously set on blowing minds. In the end, that sense of boiling the psyche in a kettle of kaleidoscopic sounds is ever-present, and that ensures Spiritus Mundi remains a heavy dose of hallucinogenic rock ‘n’ roll.

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